6 Fingering Chart (Simplified) by ROBERT MLLER '' The purpose of thi8 chart is to acquaint the pupil with the correct fingerings in particular passage: and keys, and its simplicity is conducive to quick comprehension This chart is built on the assumption tha the pupil already knows the standard fingerings for practically al the tones on the clarinet,and needs only guide as to which one of several he should use in some particular passage or key This chart makes it eas to mark the fingering on the music without drawing a picture of the instrument, and if the pupil will refe: to this chart at every opportunity, he will find that it is very easy to memorize in a very short time '" As indicated on the chart, the upper half of the clarinet is played with the left hand and the finger '' ings with that hand are designated by means of nu1nbers, while the lower half of the clarinet is played witl '" the right hand and the fingerings are designated by means of letters All that the pupil need remembel 18: LEFT HANDNUMBERS, RGHT HANDLETTERS '" '' '' Since certain tones may be fingered by either the right hand 01' the left, the numbers and letter8 ar synchronized thus: Key 1 ar A wiu produce C# upper register and F# lower register Kt"Ys 2 01' B will produce B uppei register and E lower register Keys 3 or e ""ih produce C upper registe, and F lower register Either numhers or letters wil appear above the notes \,\'hen a pa rticular fingering is desired, allo thel it will be aparant which hand i8 to play that particular tone ano what key i8 to he used n some ca8ef both a number and letter "vil! appear over a note, signifying that both such keys are to be used in the pro duction of that particular tone g bx x x wiu he used over the high Bb and Eb 1st line thus: o '', EXAl\PLES '' 7 C 3 B 2 A 1 5 F 8 \ \, r F r r #r F bj j j 6 b 4 x b r!,j r "r 2 B b F b 5 r?f olr r ª b" qr F r r '" C C B D r f r f D Copyriht MCMXXXV1 by Rubank lc, Chicagu, li! 195 Ccpyright Renewed lnternational Copyrig ht S e cur"rj

7 Essentia Principes of GOOD CLARNET PLAYNG 1 Good TOJ)e is necessary in order that one's playing be a pleasure to the listener as well a s the player Good tone can be produced only when the instrument is in good playing condition, equipped with a good mouthpiece and reed, and played with a COrect embouchure 2 ntonation When two successive tones of different pitch are produced, it is necessary that each tone be in tune with the other, relative to the interval being played 3 Tune The player must develop and train his ear so that a difference of pitch can be distinguished when playing with others i Note Values The player must develop a rhythmic sense so as to give p'oper value to tones a s represented by the written notes 5 Breathing and Phrasing Each is usually dependent on the other Since teachers of wind instruments differ 011 the methods of breathing, no special method is advocated, but it is evident to all musicians that in order to get good phrasing, it is necessary to breathe properly t is always to the advantage of the pupi} to spend much time and effort on this phase of clarinet playing and take seriously all sugges tions given by the teache' 6 Expression M arks Expression marks are considered as valuable to the playing of music as punctuation marks are to the reading of prose and poetry Good phrasing is the performance of mu,,i(; that has been properly punctuated Exp'ession marks put character into a mass of notes and if properly observed vvill produce satisfying musical effects 7 Relaxation and Proper Position of Bodyand Hands \Vhether playing in standing or sitting position, ít is necessary that the body be erect but relaxed Relaxation i8 the secret to the accomplishment of success in many othe' p'ofessions and trades The arms must be relaxed, the elbows a way from the hody, and the hands asi::iuming a restful position on the body of the clarinet 8 Sufficient Time for Practiee Since different pupils require different types and lengths of practice periods, the objective that every pupil should estahlish is: a will master the assigned task whether it takes 'h hour or 2 homs" The accomplishment of a task is far more important than the time that it consumes 9 Proper Care of the nstrument Carelessnei::is in the handling of an instrument is the most preva lent handicap to the progress of young players No pupil can expect to produce good results if the instrument is in poor playing condition The clarinet must be handled carefully and when a disorder is found, have it remedied immediately Constant attention to the candition of the instrument wil pay dividends in the end 10 Mental Attitude of Teacher and Pupil n order that the results be satisfactory, both the pupil and teacher must be interested in their task, and must have a perfe'ct understanding of what that task is The teacher must understand the lea'ling capacities of the pupils so that the pupils in turn will get the type and amount af instruction that they will understand and be able to master 195 5

10 LESSON 3 Studies in Expression SOUND GRADUATONS Crescendo (cresc) Gradualy louder Decrescendo (decresc) or Diminendo (dim) O::rlly n playing a crescendo or a diminuendo the pitch of the tone should not change tendency to become flat when playing loud and sharp when playing soft1y The clarinet has a Rinforzando > (r:f) is placed over a note for the purpose of bringing out that note more strongly than the other notes in the same sequence, and is commonly known as an accent n order to play the sound graduations ar nuances correctly, it is necessary that the quality of the tone is not affected but retain its rich and mellow fullness Oniy the volwme slwuld clwtnge When a note is followed by one ar more shorter notes, the shorter notes are played with one half the volume of the onger note There are exceptions to this rule, but it is a good pnlicy to learn to play al phrases as mentioned, since the great majority of music played in this way will be properly pcrformed A player interested in the pl3;ying of solos wil be greaty aided through adherence to this rule 2,, F U F (J r lr r tu F lr r Fr r r r 11 ff f f l1u rrif mp mp p p pp f l1if f rrif 3 f l1if lif mp 11 r' F F' F F r u r' crer r ru! f lu f rrif f lu mp f p f"'lf mp BLUE BELLS OF SCOTLAND Scotch 11 J u Note: Refer to lines 2 and 3 for patterns used in the song BLUE BELLS OF SCCYfLAND Write the volumes, namely, mf, f, mp, p etc in all the measures of this song with the patterns in sections 2 and 3 as a guide 195 8

18 Daily Studies for the Development of Technic LESSON 11 The purpose of tms lesson is the sarne as lesson 7, only that an entirely new set of keys and fingerings is concerned When you see a letter or a number above or below a note, refer to the chal't 80 that you might be acquanted with the key intended to be used in the various passages on this page ncrease the tempo rtnr after each playing of the studies on this page The use of the E key & r5ffl f rur áfifeiu 4 _ 11!1 tféi 'irm ErO 6ctcU! :11 The use of the F and G keys F 2 &15 V QWqJJ :11 Low F# as fingered when played chromatically 3 4(\ JlJJJ#jJJDJ JJEtJ : Low F# fingering as played diatonically 4 4 Ü JJiJJJiJ JiJJJ 'JJiJJiJ'JJiJJ :11 4 : 5 (fíffrq 1iffih (fêiftler rêijt D 11 = D rrrtet:h rêfti]h rêfr1ff1 tífctr :11 RAPD FNGERNG ETUDE Alleg 6 i iw,rrltrrrl,ff1rrttlrrrfl bj±nr: tcrr mf '' &ü aitlw tttt mrfij}lttet1 : &» c1inrcu Q1f1ffECf (fif(ul U r :

20 Daily Studies for the Development of Technic LESSON 13 The purpose of this lesson is the same as that of lesson 7 and 12 Accelerate the tempo each time that a study is played Tbe use of the E key :11 "" Keep right hand down until the last measure 2 The use of key F 5,llfrt;Eltlrrertrr frtreec;cer:ftlf:11 "" 1111' v 6,:;,?EdQ JJitJ é!39 fg3 183Wr :11 Left hand study =7, 1iJ] rldimipjlj 1111'

42 LESSON 35 Trills A trill is produced by alternating the given or written tone and the next scale tone above in rapid sue cession As an example, if the given or written tone to be trilled is E in the key of C Major, the scale tone a bove which will be used in the trill is F natural f, however, it is the key of G Major, the tone above E wi be F# Thus, in the first case,the trill would alternate between E and F natural while in the second CasE the trill would alternate between E and F# The approximate number of notes usually pllwed on a tone that is to be trilled is shown below Thi is not always the case, becanse sometimes on long tohes, the trill starts out slowly and accelerates in rapid ity to the end of that tone, however, the examples will show the number of trilled notes that are to be usec ' 1, f} 'r 'r V :: :: On long tones, a trill is usually closed with an additional tone which is the tone directly below the gi, en 01' written tone n pllwíng trills on short tones, this closing tone is not used because of the rapidity witj which the tone following the trill, must be reached f the trill (r) appears over a long tone, the closinl tone is the next scal tone down from the given ar written tone V 'Ú' 'r 'r 2 11 :: ==== liiiiiiiiiiiii liiiiiiiii lõiiiiiiiiiiii liiiiiiiiiiii liiiiiiiiiiii Sometimes it is necessary to alter the pitch of the closing ton'e, and this is done by indicating below th trill thus Cf) ct) cn as to what that particular tone shall be The key in which the trill appears, detej mines as to which one of the three symbols is to be used, although the purpose of these symbolsis the sam! namely, to have the closing note either a half ar whole step from the given or written tone # V 'r V V ) # ll 3 11 ii :11_ f} 1_ lii!iiiiiiiii iiiiiiiiiiiii :f::: Where the closing tones are to be emphasized and ritarded, they are usually written in to make sure ti: they will be pllwed This is done especially in case of long tones that serve as a closing to a phrase 01' a c denza t t 'r F1 F9 " === === = ====, :;;:;:; 195 4

43 LESSON 36 Trill Chart t is a good policy to trill for long periods on each of the given tones so as to become acquainted with the proper fingerings and also attain the desired nimbleness of fingers that is necessary in the proper playing of these trills The first section wil concern itself with the trills that are fingered in the normal way 01' fingered diatonically, while the second section will be concerned with the production of trills through fingerings not normaly used in the diatonic scale 1 Trills in which the natural or normal fingerings are used 'r u e u u 9 u 9 f) 'r Al trills between the double bars are fingered the same, even if the different registers ofthe clarinet are concerned, b b # 'r b b" 2 ir J Z &! ; o F :! E # F F F E o " D" V o F F G G 'r 'r 'r 'r 'r 'r fi & n n order to trill on certain tones, it is necessary to designata certain fingerings not normaly used in the diatonic scale These fingerings are indicated below each note and have reference to the production of the upper note of the trill, since the written 01' given note is fingered normally or diatonicaly 'r 'r b #'r :t b & '' 'r 9 b 'r 'r 'r r 'r V 'r ' bn o ' 6 o #1' 11 '0 6 H 7 'oh H H ETUDE '" '' 'r 3 JJ201 J j J J Vf7f?F1 f f t 'r j 15 J # 1l5J ijj 11' tê &J6J

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